Israeli Hip Hop

Total Page:16

File Type:pdf, Size:1020Kb

Israeli Hip Hop Educator’s Guide Israeli Hip Hop In this video, Chloé jumps headfirst into the world of Israeli hip hop. Focusing on three different hip hop groups with three opposing ideologies, we learn about the diversity of Israelis through their music, as well as the tensions within Israeli society. With the group Hadag Nachash advocating for social justice, Subliminal advocating nationalism, and Tamer Nafar advocating for the Arab community, hip hop is a powerful tool for social change among Israelis of varying backgrounds. Link to video: ​https://youtu.be/DyyB8svGy_k Further Reading 1. Gwilym Mumford, “Israeli hip-hop, a political tool for a divided country” https://www.theguardian.com/music/2014/dec/12/israel-hip-hop-system-ali-kaf e-shahor-hazak 2. Liana Satenstein, “Eden Dersso Is the Changing Face of Tel Aviv’s Hip Hop Scene” https://www.vogue.com/vogueworld/article/eden-dersso-israeli-ethiopian-rapper -tel-aviv 3. Rebecca Stadlen Amir, “Meet Zoolod, a Jewish and Arab Israeli hip-hop duo” https://www.israel21c.org/meet-zoolod-a-jewish-and-arab-israeli-hip-hop-duo/ 4. Interview: Sha’anan Streett (Hadag Nachash) https://www.thejc.com/culture/interviews/interview-sha-anan-streett-1.16519 5. Israel Story Podcast, “​39: Mixtape Part IV - War, Peace and Bumper Stickers” https://israelstory.org/episode/39-mixtape-part-iv-war-peace-bumper-stickers/ 6. Shirat Hasticker, NCSY Education https://staff.ncsy.org/education/education/material/gQB7gWN24s/shirat-hastic ker-jsu/ Review - Did the students understand the material? 1. What was the name of rapper Tamer Nafar’s Palestinian-Israeli rap group: a. Balkan Beat Box b. Dam c. Rise d. Blood 2. With the intention of increasing Jewish and Israeli pride, which Jewish symbol did rapper Subliminal turn into a fashion statement? a. The Israeli flag b. A Kippah c. Tefillin d. The Star of David 3. What is the name of the festival Hadag Nachash throws every year that features Israeli and Palestinian performers in impoverished neighborhoods? a. Come Together Fest b. MidBurn Fest c. One Shekel Fest d. Hadag Nachash Fest 4. According to Chloé in this video, what is arguably the most popular Israeli hip hop group of all time? a. Hadag Nachash b. Tamer Nafar c. Subliminal d. Cafe Shahor Hazak Discussion Questions and Learning Activities 1. Why do you think Hadag Nachash’s “Sticker Song” struck such a chord in Israeli society? Split your students into pairs for a ​Think-Pair-Share. 2. Why do you think that hip hop, more than other genres of music, has been effective in creating social and political change? Come up with examples of ​hip hop artists or songs​ that had an impact on society and politics, and discuss why you think they made such an impact. 3. Does a greater understanding of Israeli hip hop help you better understand hip hop in your country? Why or why not? Discuss. 4. Play the ​Sticker Song​ by Hadag Nachash for your class. Analyze the lyrics of the song by learning about the origins of the various bumper stickers at this ​link​. To delve deep into the meaning of the song and what it teaches us about Israeli society, ​click here to use some ready-made resources​. 5. Have your students listen to and analyze the lyrics of both a ​Hadag Nachash song​ as well as a ​Subliminal song​ (in small groups or as a class). Compare and contrast the lyrics and discuss the messages of ​both​ ​songs​ and what they teach us about the diversity of political discourse in Israel. 6. Using the following ​link​, divide your group into small groups of 2-3 and assign them each a different Israeli hip hop group. Have them present their respective artists and share their favorite song or music video for the rest of the group. Reflection Questions 1. Do any of the hip hop artists presented in this video remind you of some of your own favorite hip hop artists? If so, how are they similar? If not, how are they different? After thinking this through, share examples. 2. In the United States, there have been ​countless hip hop artists​ that have had an extraordinary impact on society and politics. Tupac often rapped about racism and poverty in America. More recently, Kendrick Lamar has rapped about American politics and the struggles of the African American community. How are these artists similar to or different from the Israeli artists you have learned about? Discuss. 3. Do you prefer to listen to music that is political or apolitical? What kind of lyrics do you connect to? Have your students share their thoughts and aska couple of students to share their favorite hip hop song, explaining why it’s meaningful to them. .
Recommended publications
  • Lotus Infuses Downtown Bloomington with Global
    FOR MORE INFORMATION: [email protected] || 812-336-6599 || lotusfest.org FOR IMMEDIATE RELEASE: 8/26/2016 LOTUS INFUSES DOWNTOWN BLOOMINGTON WITH GLOBAL MUSIC Over 30 international artists come together in Bloomington, Indiana, for the 23rd annual Lotus World Music & Arts Festival. – COMPLETE EVENT DETAILS – Bloomington, Indiana: The Lotus World Music & Arts Festival returns to Bloomington, Indiana, September 15-18. Over 30 international artists from six continents and 20 countries take the stage in eight downtown venues including boisterous, pavement-quaking, outdoor dance tents, contemplative church venues, and historic theaters. Representing countries from A (Argentina) to Z (Zimbabwe), when Lotus performers come together for the four-day festival, Bloomington’s streets fill with palpable energy and an eclectic blend of global sound and spectacle. Through music, dance, art, and food, Lotus embraces and celebrates cultural diversity. The 2016 Lotus World Music & Arts Festival lineup includes artists from as far away as Finland, Sudan, Ghana, Lithuania, Mongolia, Ireland, Columbia, Sweden, India, and Israel….to as nearby as Virginia, Vermont, and Indiana. Music genres vary from traditional and folk, to electronic dance music, hip- hop-inflected swing, reggae, tamburitza, African retro-pop, and several uniquely branded fusions. Though US music fans may not yet recognize many names from the Lotus lineup, Lotus is known for helping to debut world artists into the US scene. Many 2016 Lotus artists have recently been recognized in both
    [Show full text]
  • The Balkans of the Balkans: the Meaning of Autobalkanism in Regional Popular Music
    arts Article The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music Marija Dumni´cVilotijevi´c Institute of Musicology, Serbian Academy of Sciences and Arts, 11000 Belgrade, Serbia; [email protected] Received: 1 April 2020; Accepted: 1 June 2020; Published: 16 June 2020 Abstract: In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian). Keywords: Balkan; popular folk music; trepfolk; autobalkanism 1.
    [Show full text]
  • FOR IMMEDIATE RELEASE: August 25, 2016 Skirball Cultural Center
    FOR IMMEDIATE RELEASE: August 25, 2016 Media Contacts: Laura B. Cohen, LC Media for the Skirball, (310) 867-3897, [email protected] David Monnich, LC Media for the Skirball, (210) 422-1764, [email protected] Mia Cariño, Skirball Cultural Center, (310) 440-4544, [email protected] Skirball Cultural Center presents Israeli folk electronic trio A-WA Sisters Tair, Liron, and Tagel Haim combine their magical voices and timeless Yemenite folk songs with modern electronic beats for an exhilarating live show “[A-WA] take the Arabic-language songs of their heritage and recast them for the 21st-century dance floor.”—NPR Sunday, September 25, 2016, 8:00 p.m. $25 Premium (mezzanine seating) | $18 General (standing room only) FREE parking Tickets available on site, online at skirball.org, or by phone at (877) SCC-4TIX Photo courtesy of the artist LOS ANGELES, CA—The Skirball Cultural Center presents a live performance by Israeli folk electronic trio A-WA on Sunday, September 25, at 8:00 p.m. A-WA (pronounced Ay-wa) is a band formed by three sisters who grew up in the small desert village of Shaharut in the southern Israeli Arava Valley. With enchanting voices and natural groove, the sisters combine Yemenite folk singing and electronic dance music. This past June, Rolling Stone named A-WA as one of the “10 New Artists You Need to Know.” The grandchildren of Yemenite Jews who immigrated to Israel in the late 1940s, A-WA takes a modern, dance-friendly approach to their ancestral folk music by blending it with hip-hop beats and catchy harmonies.
    [Show full text]
  • My Voice Is My Weapon: Music, Nationalism, and the Poetics Of
    MY VOICE IS MY WEAPON MY VOICE IS MY WEAPON Music, Nationalism, and the Poetics of Palestinian Resistance David A. McDonald Duke University Press ✹ Durham and London ✹ 2013 © 2013 Duke University Press All rights reserved Printed in the United States of America on acid- free paper ♾ Cover by Heather Hensley. Interior by Courtney Leigh Baker Typeset in Minion Pro by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data McDonald, David A., 1976– My voice is my weapon : music, nationalism, and the poetics of Palestinian resistance / David A. McDonald. pages cm Includes bibliographical references and index. isbn 978-0-8223-5468-0 (cloth : alk. paper) isbn 978-0-8223-5479-6 (pbk. : alk. paper) 1. Palestinian Arabs—Music—History and criticism. 2. Music—Political aspects—Israel. 3. Music—Political aspects—Gaza Strip. 4. Music—Political aspects—West Bank. i. Title. ml3754.5.m33 2013 780.89′9274—dc23 2013012813 For Seamus Patrick McDonald Illustrations viii Note on Transliterations xi Note on Accessing Performance Videos xiii Acknowledgments xvii introduction ✹ 1 chapter 1. Nationalism, Belonging, and the Performativity of Resistance ✹ 17 chapter 2. Poets, Singers, and Songs ✹ 34 Voices in the Resistance Movement (1917–1967) chapter 3. Al- Naksa and the Emergence of Political Song (1967–1987) ✹ 78 chapter 4. The First Intifada and the Generation of Stones (1987–2000) ✹ 116 chapter 5. Revivals and New Arrivals ✹ 144 The al- Aqsa Intifada (2000–2010) CONTENTS chapter 6. “My Songs Can Reach the Whole Nation” ✹ 163 Baladna and Protest Song in Jordan chapter 7. Imprisonment and Exile ✹ 199 Negotiating Power and Resistance in Palestinian Protest Song chapter 8.
    [Show full text]
  • Womadelaide 1992 – 2016 Artists Listed by Year/Festival
    WOMADELAIDE 1992 – 2016 ARTISTS LISTED BY YEAR/FESTIVAL 2016 47SOUL (Palestine/Syria/Jordan) Ainslie Wills (Australia) Ajak Kwai (Sudan/Australia) All Our Exes Live in Texas (Australia) Alpine (Australia) Alsarah & the Nubatones (Sudan/USA) Angelique Kidjo (Benin) & the Adelaide Symphony Orchestra (Australia) APY Choir (Australia) Asha Bhosle (India) Asian Dub Foundation (UK) Australian Dance Theatre “The Beginning of Nature” (Australia) Calexico (USA) Cedric Burnside Project (USA) DakhaBrakha (Ukraine) Datakae – Electrolounge (Australia) De La Soul (USA) Debashish Bhattacharya (India) Diego el Cigala (Spain) Djuki Mala (Australia) Edmar Castañeda Trio (Colombia/USA) Eska (UK) – one show with Adelaide [big] String Ester Rada (Ethiopia/Israel) Hazmat Modine (USA) Husky (Australia) Ibeyi (Cuba/France) John Grant (USA) Kev Carmody (Australia) Ladysmith Black Mambazo (South Africa) Mahsa & Marjan Vahdat (Iran) Marcellus Pittman - DJ (USA) Marlon Williams & the Yarra Benders (NZ/Australia) Miles Cleret - DJ (UK) Mojo Juju (Australia) Mortisville vs The Chief – Electrolounge (Australia) Mountain Mocha Kilimanjaro (Japan) NO ZU (Australia) Orange Blossom (France/Egypt) Osunlade - DJ (USA) Problems - Electrolounge (Australia) Quarter Street (Australia) Radical Son (Tonga/Australia) Ripley (Australia) Sadar Bahar - DJ (USA) Sampa the Great (Zambia/Australia) Sarah Blasko (Australia) Savina Yannatou & Primavera en Salonico (Greece) Seun Kuti & Egypt 80 (Nigeria) Songhoy Blues (Mali) Spiro (UK) St Germain (France) Surahn (Australia) Tek Tek Ensemble
    [Show full text]
  • Imaginaries of Exile and Emergence in Israeli Jewish and Palestinian Hip Hop David A
    Imaginaries of Exile and Emergence in Israeli Jewish and Palestinian Hip Hop David A. McDonald Figure 1. Invincible (Ilana Weaver) talking with her mother in her 2010 People Not Places video. (Screenshot by David McDonald) Channels of Rage Anat Halachmi’s acclaimed 2003 documentary, Channels of Rage, begins with a furious argument between two prominent Israeli hip hop groups: DAM, a Palestinian-Israeli crew from Lyd com- prised of Tamer Nafar, Suheil Nafar, and Mahmoud Jrere; and TACT, a collection of Jewish- Israeli rappers led by Subliminal (Kobi Shimoni) and Shadow (Yoav Eliasi). Meeting in a dark alley in Tel Aviv, the groups nearly come to blows over recent comments made by the two lead- ers, Tamer Nafar and Shimoni. Once collaborative and nurturing, the relationship between the two young rappers quickly dissolved as each began to embody contrasting political ideologies within the ongoing al-Aqsa intifada. Coming to terms with the violence on the streets of Tel Aviv and Jenin, both artists retreated from their once supportive relationship, based in a mutual love of hip hop, into the rigid, uncompromising nationalisms of Israel and Palestine. Yet if we look beyond the belligerence and hyper-masculinized posturing, we witness an insightful commentary on contemporary Israeli society at the outset of the al-Aqsa intifada. Refracted through the lives and experiences of these young hip hop artists, Halachmi’s film reveals the internal struggles young Israelis, Jewish and non-Jewish, faced during a profound TDR: The Drama Review 57:3 (T219) Fall 2013. ©2013 New York University and the Massachusetts Institute of Technology 69 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_a_00280 by guest on 26 September 2021 moment of collective violence, trauma, and mourning.
    [Show full text]
  • PERSEPHONE a Musical Allegory for the Stage by David Hoffman
    PERSEPHONE A Musical Allegory for the Stage By David Hoffman In Concert Performance www.PersephoneOnStage.com July 21, 2010 The Great Room The Alliance of Resident Theaters South Oxford Space This particular story was so important to all of those ancient Greek and Roman dumbbells of whom Ms. Wafers was so dismissive, that they made it the centerpiece, the very gospel, of their most important religious ceremonies – the Mysteries of Demeter at Eleusis – which were held outside of Athens for at least 2,000 years. The initiates at these ceremonies, who included every important classical philosopher, artist, and playwright, and every Roman Emperor until the rise of Christianity, were taught this story, and used it to guide them to a secret truth that they thought to be crucial to their successful entry into the afterlife. What, exactly, this secret was has remained secret (a fact that, itself, is remarkable considering the prolific literary output of those 2,000 years of initiates), but there are layers of importance, and of metaphor in the story that we can find without too much digging. One comes when we analyze Persephone’s motivations: why does she eat the damned pomegranate (literally, the pomegranate of the damned) in the first place? All the retellings of this story suggest that it is that conscious decision, not her initial abduction, that ties her forever to the world of the dead. She chooses to be there, for at least part of the year – to be the wife of this awful god who has abducted her. His approach was god-awful, for sure, but he is the second most powerful person in the universe, and he sees her not as a little girl but as his queen.
    [Show full text]
  • Musicians and Writers. Pickles and Puppets. Noshing and Shmoozing
    Musicians and writers. Pickles and puppets. Noshing JEWISH ARTS and shmoozing. What’s going to move you this Spring? COLLABORATIVE WELCOME Tradition meets innovation. Matzah balls collide with molecular gastronomy. Modern dancers leap to electrified ancient melodies. After 3,500 years of wandering through deserts and sailing across oceans, Jewish culture is about to embark on another journey with the launch of the Jewish Arts Collaborative. Whether in the shtetl or in the suburbs, the Jewish people have inhaled the cultures of the world, mixed them with our unique perspectives, and exhaled something beautiful. Our mission – and passion – is sharing that beauty, in its many forms and styles, with you. From Austrian silent movies to Yemenite rock’n’roll, from Shylock’s Venice to Sholom Aleichem’s Lower East Side, you’ll find surprises, inspiration, and just plain fun in our inaugural season. So get off your tuchus already and get some tickets. We’ll see you soon. Laura Mandel Joey Baron Executive Director Artistic Director HOW TO GET TICKETS MAJOR SPONSORS ABOUT US ONLINE: The Jewish Arts Collaborative is a bold new initiative to infuse Jewish arts and culture into our community. The Collaborative Visit jartsboston.org brings together the Boston Jewish Music Festival and the New At only $2-5 per ticket, we are doing our Center for Arts and Culture, in partnership with an array of Boston’s cultural and Jewish organizations. Simply put, the best to keep service fees to a minimum. Collaborative brings the art to the Jewish and the Jewish to the art. BY PHONE: Call Ovation Tickets, 24/7, at 866.811.4111 The Collaborative is the product of extensive conversations and planning by local Jewish cultural leaders.
    [Show full text]
  • C.V.7.2. Israeli Popular Music
    1 C.V.7.2. Israeli Popular Music Edwin Seroussi In the early period of Israeli statehood, the means for the support of musical performance, composition, dissemination and education were in the mostly in the hands of governmental agencies and thus controlled by the dominant political and cultural elites. This control by the establishment gradually weakened, particularly following the decentralization of the mass media since the early 1980s. Popular music, a characteristic modern urban phenomenon, and its hallmark, the appeal to heterogenic populations, cosmopolitanism, industrial production and mass distribution in an open market, became then the main mode of music making and consumption in Israel as it did at a global level. From the 1920ies up to the present Popular music defined along these lines first appeared in Israel with the growth of large cities (Tel-Aviv-Jaffa, Haifa, Jerusalem) propelled by the immigration of professional musicians from Poland, Germany and the former Austro-Hungarian Empire in the late 1920s and early 1930s. These musicians developed in Israel new musical venues similar to those of the European cities, such as musical theaters and cabarets where contemporary European songs sung to new Hebrew texts were mixed with new compositions by local composers in genres such as the tango and the fox-trot. The popular music industry in Israel was launched in the mid-1930s when the first commercial record company was founded and a radio station opened in Palestine under the British Mandate that included Hebrew broadcasts. Up to the 1970s, popular music was dominated by tight state-controlled cultural policies and mass media.
    [Show full text]
  • Summer 2010 Events Guide
    Summer 2010 A 10-acre public trust powered by the creative cultures of Canada and the world. Events Guide harbourfrontcentre.com 416-973-4000 235 Queens Quay West, Toronto, Canada Government Site Partners Government Programming Partners Government Programming Partners Corporate Site Partners Corporate Site Partner Major Partners Major Partners Official Hotel Media Partners Most events FREE! There’s so much to do this What’s the Big IDEA? On any given day, there are dozens of ideas to explore at Harbourfront Centre, summer across a broad range of artistic disciplines and cultural programmes. Our curators have an eye for original trends and connections in contemporary at Harbourfront Centre culture – and they want you to see what they see. Music. Film. Dance. Food. Camps. Sailing. Often, we observe a recurring idea emerging across various disciplines and events. We call this the “Big IDEA” and present it for you to consider as part of your Harbourfront Centre experience. It’s our way of highlighting Tour the globe during our World Routes just one of the many ideas you'll find here year-round. free summer weekend festivals. This summer, the Big IDEA is “globalocal.” To read more about it, see page 4. Catch a film under the stars as part of our If you’re struck by a particular idea you see in our programming or if you’d Free Flicks series. like to send us your reactions to our Big IDEA, we’d love to hear from you! Email [email protected] or tweet @HarbourfrontTO with Inspire your kids through one of our fantastic #whatsthebigidea Summer Camps.
    [Show full text]
  • Zionist Exclusivism and Palestinian Responses
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Kent Academic Repository UNIVERSITY OF KENT SCHOOL OF ENGLISH ‘Bulwark against Asia’: Zionist Exclusivism and Palestinian Responses Submitted for the Degree of Ph.D. in Postcolonial Studies at University of Kent in 2015 by Nora Scholtes CONTENTS Abstract i Acknowledgments ii Abbreviations iii 1 INTRODUCTION: HERZL’S COLONIAL IDEA 1 2 FOUNDATIONS: ZIONIST CONSTRUCTIONS OF JEWISH DIFFERENCE AND SECURITY 40 2.1 ZIONISM AND ANTI-SEMITISM 42 2.2 FROM MINORITY TO MAJORITY: A QUESTION OF MIGHT 75 2.3 HOMELAND (IN)SECURITY: ROOTING AND UPROOTING 94 3 ERASURES: REAPPROPRIATING PALESTINIAN HISTORY 105 3.1 HIDDEN HISTORIES I: OTTOMAN PALESTINE 110 3.2 HIDDEN HISTORIES II: ARAB JEWS 136 3.3 REIMAGINING THE LAND AS ONE 166 4 ESCALATIONS: ISRAEL’S WALLING 175 4.1 WALLING OUT: FORTRESS ISRAEL 178 4.2 WALLED IN: OCCUPATION DIARIES 193 CONCLUSION 239 WORKS CITED 245 SUPPLEMENTARY BIBLIOGRAPHY 258 ABSTRACT This thesis offers a consideration of how the ideological foundations of Zionism determine the movement’s exclusive relationship with an outside world that is posited at large and the native Palestinian population specifically. Contesting Israel’s exceptionalist security narrative, it identifies, through an extensive examination of the writings of Theodor Herzl, the overlapping settler colonialist and ethno-nationalist roots of Zionism. In doing so, it contextualises Herzl’s movement as a hegemonic political force that embraced the dominant European discourses of the late nineteenth and early twentieth centuries, including anti-Semitism. The thesis is also concerned with the ways in which these ideological foundations came to bear on the Palestinian and broader Ottoman contexts.
    [Show full text]
  • LA DISPARITION DE LA POLITIQUE : LE RAP ENTRE ISRAËL ET LA PALESTINE, ENTRE JUIFS ET ARABES Anna Zielinska
    LA DISPARITION DE LA POLITIQUE : LE RAP ENTRE ISRAËL ET LA PALESTINE, ENTRE JUIFS ET ARABES Anna Zielinska La Découverte | « Mouvements » Document téléchargé depuis www.cairn.info - Université de Lorraine 193.50.135.4 03/12/2018 19h21. © La Découverte 2018/4 n° 96 | pages 102 à 110 ISSN 1291-6412 ISBN 9782348040870 Article disponible en ligne à l'adresse : -------------------------------------------------------------------------------------------------------------------- https://www.cairn.info/revue-mouvements-2018-4-page-102.htm -------------------------------------------------------------------------------------------------------------------- Distribution électronique Cairn.info pour La Découverte. © La Découverte. Tous droits réservés pour tous pays. La reproduction ou représentation de cet article, notamment par photocopie, n'est autorisée que dans les limites des conditions générales d'utilisation du site ou, le cas échéant, des conditions générales de la licence souscrite par votre établissement. Toute autre reproduction ou représentation, en tout ou partie, sous quelque forme et de quelque manière que ce soit, est interdite sauf accord préalable et écrit de l'éditeur, en dehors des cas prévus par la législation en vigueur en France. Il est précisé que son stockage dans une base de données est également interdit. Document téléchargé depuis www.cairn.info - Université de Lorraine 193.50.135.4 03/12/2018 19h21. © La Découverte Powered by TCPDF (www.tcpdf.org) La disparition de la politique : le rap entre Israël et la Palestine, entre Juifs et Arabes Document téléchargé depuis www.cairn.info - Université de Lorraine 193.50.135.4 03/12/2018 19h21. © La Découverte PAR ANNA Le rap israélien aurait pu être un instrument de revendication ZIELINSKA* puissant, et sur ses marges il l’est certainement.
    [Show full text]